In 1968, Beatle Paul McCartney and Beach Boy Mike Love were at the breakfast table in India. McCartney had come to Love with a very rough form of “Back in the U.S.S.R.,” which he began writing on the trip. Over pancakes and fruit, McCartney started singing the chorus. “Paul sang me the verse. I told him he should talk about the Russian girls in Moscow,” Love explains. “He took my idea and incorporated it into the song.”
New Mexico music licensing company Masterscape, Inc. helps artists make money
By Jessica Cassyle Carr
Meeting an Albuquerque musician who makes more than $50 at an average show nowadays is rarer than sighting the elusive yeti, and as most can tell you, earning a respectable sum via song is almost unheard of. Almost.
Dweezil discusses Frank's compositions, being nonpolitical and Japanese toys from the ’70s
By Jessica Cassyle Carr
During a career that spanned more than three decades, exhalted composer, guitarist, visual artist, film director and general avant garde visionary Frank Zappa wrote and produced a multitude of songs. His music strode a squiggly line between jazz rock and experimental classical music, and there was nothing like it then, or now. A few years ago, Zappa's oldest son Dweezil went on the road, re-creating his father's original compositions. The Grammy-winning tour, which continues to be met with success, comes to Albuquerque this week. Dweezil told us about it in a telephone interview.
Admire this seemingly French new wave-inspired poster, then see the show on Friday, Nov. 20, 10 p.m.-ish, at Burt’s Tiki Lounge (313 Gold SW). The evening features performances by an eclectic, extra-X chromosome-laden cast headlined by hell-raising honky tonk heros Sin Serenade, supported by all-girl thrashers Suspended, beatbox queen Saywut?! and Ben Hawthorne (we think he’s a dude). Free, 21+. (Jessica Cassyle Carr)
A keystone in the wall of weirdness The Flaming Lips has built over the past 25 years has been the unique ability to juxtapose bizarre music and lyrics with cathartic optimism in songs like “Do You Realize??” However, this 13th album stunningly takes the Oklahoma band’s notorious weirdness to hell and leaves listeners there, surrounded by dark and versatile psychedelic rock. Embryonic—somewhere between early Floyd and Miles Davis’ Get Up With It—turns upside down ecstatic and eccentric frontman Wayne Coyne’s usual oddball tales of love saving the world with lines like “I believe in nothing” and “love is powerful, but not as powerful as evil.” (AP)
Tom Frouge is the creator of ¡Globalquerque!, owner of an artist management company called Avokado Artists and partner in a music licensing company called Masterscape, Inc. (see “Sound and Sight”). He’s also one of our first victims in Song Roulette, a new column where music fans are asked to put their music libraries on shuffle, sharing and commenting on the first five tracks that happen to show up.
Crystal Castles • electropunk, synth pop, witch house
By August March
Remember the thing called Witch House? How about darkwave? The constant bifurcation of artistic paths in the field of electronic music can be damnably confusing and irritating, as well as rewarding and helluva lot of fun too—as long as you pick the right band. When adherents of these sorts of genres aren't busy sorting their rainbow-colored toe socks and looking for tubes of Vick's Vaporub to snatch up at the local Walmart, then it's a pretty fair bet that they are listening to the likes of Crystal Castles, a duo of Canuck electro-arhats who've made their mark in the music world with a febrile and spooky glitchiness that has outlasted any names critics might apply in favor of an honestly, intimidatingly pure exploration of sounds that make humans dance and rejoice as they swirl around the very noisy and icy maelstrom of life and death. Ethan Kath and Edith Frances, AKA Crystal Castles, perform live in Burque on Thursday, Oct. 19. Viewed as an opportunity to joyfully and ferociously embrace the void, this ought to be a damn good show, but don't blame me if you can't remember your name afterwards.
Here's a brief on a band with three names, but unlike Eliot's bunch, these dudes are not a coterie of cats. At home across the pond, they're known as the Beat. In the land down under, kindly refer to them as the British Beat. Here in 'Merica, we call them the English Beat. But no matter what you call them, this estimable ensemble that still includes founder and guitarist Dave Wakeling—but not vocalist Ranking Roger—was partially responsible for the upsurge in popularity that two-tone ska saw on both sides of the Atlantic during the '80s and '90s. With a retinue of classic, upbeat jams like “Monkey Murders,” “Spar Wid Me” and “Save It for Later,” the band's touring the states again, impressing OG ska lovers as well as the next generation of horn-crazy youth with their combination of crazy stage antics and terrific tuneage. You can catch the outfit live here at the Duke City on Sunday, Oct. 22, at the Historic El Rey Theatre, but don't worry you don't need checkerboard pants or a smart little hat to enjoy this gig—just make sure those great big feet of yours are rested and ready to dance.